As a writer, I appreciate the classic play from which "Beau Brummell" was adapted. The film directed by veteran Curtis Bernhardt and written by Karl Tunberg is a very solid one, which is a drama not an adventure. Perhaps post-1970 viewers are unused to listening to dialogue; also this is not history, it is fictionalized biography. This means the Beau Brummell we are given is the one to be judged; and frankly anyone who is the enemy of a half-mad pseudo-Christian monarch, and who tries to influence his son to be even marginally a better man and less of a dress parade fop, is an historical character worth making a movie about. Furthermore, any comparison between this film and "The Madness of King George", a naturalistic biography of a half-mad king is ridiculous; this is fiction, the latter cannot aspire to be anything comparable. The film is physically quite beautiful. Richard Addinsell and Miklos Rosza provided music, Oswald Morris the glowing cinematography and Elizabeth Haffenden the very striking and lovely period costumes.. With art direction by Alfred Junge, gorgeous bewigged hair and Joan Johnstone's makeup, the film looks quite lovely at all points. The storyline, which sometimes betrays its stage origins, in my judgment never really falters. George Brian Brummell attracts the attention of the young Prince of England by critiquing his overly-elaborate redesign of the royal guard's uniforms. It's about all he has to do except wish he could marry his mistress, which his father will not allow. Brummell's audacity and subtle praise of his latent potential then causes him to make Brummell his chief unofficial adviser. He introduces pipe-stem trousers and the ancestor of the modern dress suit in place of the foppish fashions of the period; and he conducts himself honestly while hoping to free the prince from his father's madness and general tyranny. He is liked and respected by the ethical men at a corrupt and dangerous imperial court--remember we revolted against the mad king's family in the colonies--but eventually runs afoul of the king's touchiness, and to Lord Byron at a party instead of issuing an apology, asks of George Gordon, Lord Byron, "Gordie--who's your fat friend?" The Prince fails to forgive him for the intemperate remark; and Brummell is driven from court and only reconciled with the king as he lies dying. in poverty. This powerful and often thematic narrative may be a bit slow here and there, but intelligent dialogue, powerful confrontations and good acting make it a standout, compared to nearly every historical film made since its original release. In the title role, Stewart Granger is very good and charismatic. Even better perhaps are Robert Morley as the mad King, Peter Ustinov as the Prince, James Donald as Lord Mercer and Rosemary Harris as Mrs. Fitzherbert, the Prince's mistress. Other fine actors in this well-played feature include Peter Dyneley, James Hayter, Noel Willman as Lord Byron, Paul Rogers as Mr. Pitt, Peter Bull and Henry Oscar. As Lady Pamela, Brummell's love, Elizabeth Taylor lacks something in every department except looks; even after her relative shortcomings in classical films such as "ivanhoe" and this entry, studio heads hired her to play classical parts. I have always wondered why. Granger, handsome lead, was brought to star in a number of projects for the studio; he did not do a poor job in any one of them and turned in a very good one wherever, as here, he was able to inject humor into his part. This is a very fine, dignified and rewarding historical fictionalized biography, unlike so many before and since. It is very underrated.
Review of Beau Brummell
